 The Clarinet BBoard
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Author: nata
Date: 2015-02-01 03:26
Hello fellow Clarinetists!
I was wondering if you could take some time and help me out with a dilemma.
(Sorry, but this might be a long post.)
I have been playing on a plastic clarinet for three years, and I have been looking forward to switching to a wooden one. Until a wooden one is bought, I have been looking into getting the appropriate gear in order to produced the best sound possible.
I got a new Vandoren M-15 "Profile 88" mouthpiece and the Vandoren Optimum ligature. However, the new ligature made my playing on Vandoren Traditional 3.5 reeds impossible, but I found that the size 3 reed works perfectly.
I am now looking to buy some new reeds as mine are running out.
I heard good things about the Legree synthetic reed.
After looking at their website, I discovered that there are different cuts (Ontario, Quebec, Signature, and Standard) and that the Quebec gives the most dark sound.
I am looking for a reed that will respond to articulation easily, and will allow me to have a dark, focused, sound (especially in the notes above the high G).
Now that you know everything- a few questions:
1- What do you suggest I buy: the Quebec or the Signature (strength equivalent of Vandoren 3)?
2- Do you think I should buy some cane reeds also (like the V12) to use in my rotation in conjunction with a synthetic (Legree) reed or I can use a synthetic reed exclusively?
3- Has anyone ever used the ReedJuvinate system? If so, do think synthetic reeds need to be stored in it, or only cane reeds do? What are your thoughts about it, in general.
I understand that this might be a little time consuming to respond to, so feel free to respond as much or as little as you like.
Any help is greatly appreciated.
Thanks!!
Post Edited (2015-02-01 03:40)
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Author: cxgreen48
Date: 2015-02-01 03:55
1) I own both the Quebec and Signature reeds. The Signature reeds are hands down MUCH better than Quebec reeds for me. The response and sound of the Signature is much more "cane-like" than the Quebec. I find the Quebec slightly unresponsive, dull, and buzzy in upper registers.
2) Up to you, but it definitely doesn't hurt to have some cane reeds on you in addition to your synthetic reeds
3) I haven't used it, so I can't help here.
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Author: CarlT
Date: 2015-02-01 04:42
I've used both, and I agree with cxgreen48 that the Signature is significantly better than the Quebec. Regarding the size, imo the Signature no. 3s are about equal to the Vandy V12 no. 3s; however, some on here think the Signature is just a bit stronger than the Vandorens. Do a search and see what others think re size comparisons.
I believe that Legere gives you 30 days to exchange it if it's not feeling right for you.
CarlT
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Author: WhitePlainsDave
Date: 2015-02-01 05:30
Nathan:
My clarinadar (an amalgamation of clarinet and radar) is showing signs that concern me.
It was a switch in ligatures (not mouthpieces) that found a reed brand and strength that use to be okay for you now too hard?
Certainly I could see this being the case when switching mouthpieces, particularly from one with a more closed tip to one that's more open. But if the M15 represented for you a wider tip from an older mouthpiece, it could only mean you were coming from a Vandoren M13, M13 Lyre, or another brand's equivalent very small tip opening mouthpiece. (Tip opening is only one of many attributes that dictate reed strength.)
Regardless, you're happy with strength 3 and have a strong mouthpiece ligature setup. Good. Or maybe not.
Nathan: before we even talk about the pros and cons of synthetic reeds I need to know a bit more about what it is that's having you consider synthetics, above and beyond the reasons you cite, and what, if any, is your method for breaking in and adjusting cane reeds.
More to point, if you're approaching this from the idea that "cane is just too darn unreliable right out of the box compared to a synthetic," while true, the solution to this problem, at least for some players, is to better learn how to adjust cane reeds (and their expectations), than change over to synthetics, and eliminate most of the adjustment problems/work, but risk losing some of the good things cane is known for.
Please don't misunderstand me. Cudos to companies like Legere and Forestone for products that no doubt fought tooth and nail to make a very respectable showing in comparison to cane. The synthetic market has come a long way, and with time, it may, IMHO equal or surpass good cane. But I believe, and I think most others (but by no means all) agree that they'd rather do that audition with their best cane, rather than their best synthetic.
Synthetics I think can be great for starting players who need to devote their attention more on practice than reed search.
And yes, supposedly there are top pros playing nothing but synthetics now. But their abilities and needs differ from ours in ways that might make us switching to solely synthetics, simply because they have, not the best for us.
To the orchestra player who plays in different weather, and/or is so busy with playing and teaching that working on reeds sometimes has to take a back seat, a reliable synthetic may address issues you and I don't face. They may play on mouthpieces specifically design for them, used solely with synthetic reeds.
If you haven't already, I'd give an extremely close look at products like Ridenour's ATG system to help you address cane reeds that may have wonderful potential, but don't play great upon first use. I'd also consider keeping your reeds in a humidity controlled environment. You might want to deliberately buy those 3.5 reeds knowing your going to work on them to get them into playing shape, likely softening them to your desired 3 strength anyway.
As for which of the Legeres to play? You really need to try for yourself. I like the Signature, and I keep a couple in my case for emergencies (i.e. bad reed days) but our setups and the humanity we bring to the instrument differ. Because they can be balanced better during production, IMHO, than a cane reed, whose fibers vary such that even cutting it symetrically down the middle to width tolerances of less than a human hair can make for left-right playing differences with a reed, your apt to be able to articulate faster on a right out of the box synthetic. Most synthetics are limited in adjustment by subtle position changes on the mouthpiece and softening a bit by immersion in hot water, consistent with manufacturer's recommendations.
I don't know if there's a topic on the bboard with more history than reeds, and within reeds, the cane versus synthetic debate. I would suggest you use the search feature and see what others have said.
As for me, it's a combination of good success with adjusting cane, and problems with synthetics like intonation that still find me using cane.
When you say you wish to produce notes above high "G," it reminds me of having no problems doing so with synthetics, but only being able to go to around double high "G" or "A" with them, while with cane, I can push beyond double high "C."
ReedJuvinate: If it were some magic elixir, I think word would have gotten around by now, especially here, and everyone would be using it. Feel free to use the bboard's search function for other's opinion of it.
I'm pretty sure that even if it were all its manufacturer claims, it would not apply to synthetic reeds, which, if porous at all, aren't nearly as much as cane, and don't require water.
Water allows cane reeds to be more pliable as wood fibers are attracted to its hydrogen more than adjacent wood fibers. Not so with Legere's, nor I suspect Forestone's either.
Rather than get into ReedJuvinate and cane reeds, it might be best to search the manufacturer's website and this board for more information.
Post Edited (2015-02-01 05:32)
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Author: nata
Date: 2015-02-01 08:06
Hello everyone!
Many thanks to those that replied!
In response to some questions posed to me:
I initially played on a stock buffet mouthpiece with a Rovner ligature. The 3.5 reeds worked well.
Then, I changed my mouthpiece to the Vandoren M-15. I still played on the rovner ligature, and the reeds worked well. Then, after I swapped to a Vandoren Optimum ligature, I could not find the appropriate response from my 3.5 reeds.
I switched to a 3, and it works perfectly now.
My reasons for considering synthetic reeds are the following:
1- they are reputed to have a longer life... meaning I do not have to have a hassle with cane reeds
2- they are easy to clean. I am starting to hate practicing because of an icky feeling in my throat each time I finish. yuck. The ReedJuvinate system has the potential to fix this. I know some players have weird mixtures of hydrogen perioxide or listerine with water, but experimenting with this is not my cup of tea.
3- they are more durable. I played once outdoors, and my cane reeds didn't work as ideally
4- they are reliable. I was playing a major solo when a reed let me down. My solo was a "squeak-squeak-squeak." Needless to say, I felt really shamed.
I have to confess that I am a high school clarinet player, and I thus have no idea as to how to adjust reeds and I do not have the time for it.
However, I have taken a look at the ATG Reed Finishing System, and I am intrigued by it- especially its ability to do this in a few minutes.
I have a 'redneck' way of breaking in reeds.... pick it up, and play! Then let it rest and play again! However, my shift to 3 reeds from 3.5 was caused AFTER I had taken the time to break in the reeds.
Any more advice is greatly appreciated.
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Author: TomS
Date: 2015-02-01 10:01
I am one that usually prefers the Legere reeds to cane. Rarely can I find a wooden reed that performs better, especially with the type of sound I am trying to achieve. The consistency and life span of synthetics are of secondary concern, to me ... and I suspect many professionals that regularly use synthetics feel the same way. It's mostly in the performance ...
Current serious setup is a Vandoren M13 (not lyre) and Legere Classic, or occasionally Quebec or Signature. Using a #3 or #3.25 Legere Classic, lately I've been sanding the reed about 0.5mm narrower. Ligature is either string or Luyben. The narrower reed seems to have more ping and also give you more lateral adjustment range on the MP. This combination has drawn many positive compliments for it's warm, but clear, centered timbre.
I do use Vandoren blue box with a M30-lyre for noisier ensembles unbalanced toward brass instruments. Sometimes you need the ability to strip paint and part eyebrows, unfortunately!
BTW, you mentioned upgrading to a wooden instrument. Don't assume that wood necessarily has a better sound than hard rubber or some plastics. Try one of Tom Ridenour's hard rubber clarinets, when you are ready to audition new instruments. Much of the sound of the clarinet is in the design, the material makes a comparatively small, but still important, difference.
Tom
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Author: nata
Date: 2015-02-01 19:34
While Tom Ridenour has a good reputation, his hard rubber clarinets are too expensive for my taste.
I was shooting for an E-11....
Thanks
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Author: Wisco99
Date: 2015-02-02 01:27
Regarding the Legere reeds for clarinet, I tried several over the years including one that was called a 3 dot, I guess it was a prototype at the time. For me the standard worked best. The thing that I did not like was the tip of the reed was sharp and kind of cut my tongue when doing staccato. Some really great players love them. I think John Moses in NYC used them for Broadway shows. They are great for that because they do not dry out like cane or suddenly go weird on you. I do not know if they still do it, but they used to let you try it, and refund your money if you sent it back if you did not like it. I still like a good cane reed better, but I am probably just set in my ways. I do carry one in my case just in case I need it.
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Author: nata
Date: 2015-02-02 03:45
Ahh... we are looking into a used (not new) instrument. sorry.. WhitePlainsDave.
How well do you find the Ridenour clarinets?
So I should look at a Standard reed, and buy one for backup and keep using cane... is that the general consensus?
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Author: WhitePlainsDave
Date: 2015-02-02 04:29
I'd choose a new Ridenour over a new Buffet E11 without reservation.
The general consensus, I think, is for you to try synthetics AND learn how to adjust cane reeds. That may be what you just said, I'm not certain.
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Author: Ursa
Date: 2015-02-02 20:18
I've found that Legere and other synthetic reeds occasionally lose their springiness during long playing sessions. If you find one that works for you, it could be prudent to purchase an identical second reed and rotate them if you suddenly find your Legere becoming unresponsive.
Regarding a used clarinet: Many vintage Leblanc Paris instruments are incredible bargains right now and can handily outperform a used E11 for the same money or even less. If I were upgrading from a plastic clarinet to my first wooden instrument, these would be my first choice.
My principal performance instrument, a Ridenour 576BC, has many wonderful virtues but isn't for everyone.
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Author: TomS
Date: 2015-02-02 23:37
I agree with the statement that the Legere get a little soft as they are played ... you may need a 2nd reed to rotate in after an hour or so of heavy playing. In addition, they take a little while to warm up and reach optimum performance. If I have the opportunity, I'll soak the entire reed in extra warm water for a minute before 1st playing. It seems that temperature effects their strength more than it effects cane ... outdoor playing on a hot day yields a softer blowing experience.
After a few hours of resting, they will recover and play like they did the day before.
I like the sound and response I get with Legere over cane.
But, after a few weeks, they do lose their response and just kinda "mush out" ...
In regard to the Ridenour Lyrique clarinets, I play two of Tom's instruments ... and wouldn't trade them for anything, but I also think that as your skills improve and you can afford it, a couple of other clarinets in your arsenal are a good thing. Adding an Buffet, a Backun, and/or a Yamaha would expand your pallet of sounds ... and make playing more interesting and fun. But, I believe it's a good idea to start out on something less quirky, easier to play, and not expensive, and that's where Ridenour's instruments have a big advantage. That is not to say that his clarinets can't satisfy the most demanding professional as well.
Tom
Post Edited (2015-02-02 23:41)
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Author: Paul Aviles
Date: 2015-02-03 00:14
Hey just to throw an amazing option into the clarinet mix. The "entry level" Uebel clarinet plays like a professional model, comes standard with silver plated keys, and leather pads. It retails at about $1300 and puts anything in that price range completely to shame.
Of course if you top of at $1,100 your options would be a bit more limited.
..............Paul Aviles
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Author: Ursa
Date: 2015-02-03 00:17
I agree with Tom above--owning more than one B-flat clarinet opens up new sonic possibilities, and it's great fun--that's why I currently have 9 playable horns...
One thing about the Ridenour clarinets is that as you become accustomed to the impeccable regulation and silent action of the mechanism, the accurate tuning, and the even scale, you begin to expect, critically listen for, and make adjustments to accomplish the same precision while playing other clarinets.
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Author: John J. Moses
Date: 2015-02-03 05:12
Hi All:
Buy the best clarinet you can afford. I recommend a used Buffet R-13, and, for me, wood is better than plastic. Although my good friend, the late Kenny Davern, sounded great on his plastic Conn clarinet! Give a listen:
https://www.youtube.com/watch?v=yXg_px3gqqk
For the first 6 years of my playing WICKED on Broadway, I used Vandoren reeds exclusively, then Guy Legere sent me prototypes of his new synthetic reeds, & with the help & advise of other professional clarinetists, we fine-tuned the Legere Signature Series, which I have used ever since.
I play Bb, Eb, bass clarinet & soprano sax at Wicked. I use Legere Sigs on all my horns except soprano sax (we haven't gotten the specs right for the Signature Series). You must try different strengths & be exacting about the placement on your mouthpiece, and use a ligature that firmly holds your reed in place. As mentioned earlier, Legere will exchange your undamaged used reed for another strength (Vandoren never made me that offer!).
Again, a good used wooden clarinet over a plastic one will do. And a Legere Signature Series synthetic reed will be best for you IMHO.
Good luck!
JJM
Légère Artist
Clark W. Fobes Artist
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Author: WhitePlainsDave
Date: 2015-02-03 06:27
What percentage of your decision to play Legere Mr. M would you say has to do with your need to play several instruments during a Broadway performance, and not have to hydrate reeds before play (the soprano sax notwithstanding)?
Maybe to rephrase, might you find yourself playing cane if the situation were one where a large percentage of the duration of a musical piece you found yourself not only playing but playing one of the instruments above that you currently play Legere's on?
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Author: nata
Date: 2015-02-03 07:22
Personally- I am not planning to be a professional clarinetist, but a music lover.
With that being said, do you all think that spending 1000 dollars on a used R13 is overkill for my purposes- or I should spend around 500 dollars on a used E-11?
I hope to play for the rest of my life....
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Author: nata
Date: 2015-02-03 07:22
Personally- I am not planning to be a professional clarinetist, but a music lover.
With that being said, do you all think that spending 1000 dollars on a used R13 is overkill for my purposes- or I should spend around 500 dollars on a used E-11?
I hope to play for the rest of my life....
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Author: John J. Moses
Date: 2015-02-03 07:25
Hi Dave:
My simple answer is:
I play at many venues here in NYC & always use a Legere reed!
As examples of my playing venues:
I play at Carnegie Hall with the New York Pops using a Legere, likewise with the American Composers Orchestra at Zankel Hall, also using a Legere reed. In both of those orchestras I am the Solo 1st. clarinetist & have not used a cane reed for years in our many concerts & recordings. In addition, the small amount of studio work that is left for us here in NYC, my choice has been to use the synthetic Legere reeds because they record better than cane reeds & are much more consistent.
So, I believe the many advantages that the synthetic Legere reeds have over cane reeds, not only works well in "doubling" situations like Wicked on Broadway, but also solo clarinet playing in orchestras and recordings.
JJM
Légère Artist
Clark W. Fobes Artist
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Author: John J. Moses
Date: 2015-02-03 07:30
Hi Nata:
Always choose what you can afford & always sound the best that you can sound.
Buy an E-11 & do just fine for $500, but if you can sound & feel better on a $1000 R-13, go for it! Your choice, my friend, it's for the rest of your life (your words).
JJM
Légère Artist
Clark W. Fobes Artist
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Author: cxgreen48
Date: 2015-02-03 07:31
I would agree with buying the best clarinet you can afford. When I was playing my intermediate Yamaha (comparable to the E11), I liked it, but was always wanting to upgrade something. First the the reeds, mouthpiece, and ligature, then a barrel.
A year later, I ended up buying a professional Yamaha clarinet. Looking back, I wish I started with a good plastic clarinet, so I could have a clarinet to use outdoors and a professional clarinet for indoors. I don't feel that intermediate clarinets offer much more than a good plastic clarinet besides that it is usually just made of wood. This of course is just my opinion.
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Author: TomS
Date: 2015-02-04 00:54
Most folks need one GOOD non-wood instrument for use in crummy conditions and as a backup. I found, however, that my Yamaha YCL-250 was so sharp as to be worthless for outdoors concerts in the summer ...
With modern design and manufacturing you can get a non-wood instrument that plays wonderfully without spending a mint and will give you peace of mind during extreme weather conditions.
You might find a pretty old R13 for a grand, one resource is a good clarinet teacher (college level) that might have some inside info ... get a really good tech to tweak and check it before you play test ... I'd spend the extra for the R13 because you can recover most of your money when it comes time to trade up or sell, and it plays much better than the E11. You many not appreciate the difference now, but you might in a few years.
I sold an R13 a couple of years ago for more than what I payed for it ...!
Tom
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Author: Johan H Nilsson
Date: 2015-02-04 03:47
I bought my first Legere reed less than two weeks ago.
My impression is the same as when I tested before I bought it: In the lower register there isn't much difference but in the high clarion and altissimo you will overblow earlier than with a cane reed and need to play softer. And when you articulate rapidly in the high register you cannot avoid this overblowing sound.
Maybe I should have selected a stronger reed than 3 1/4. I play the Vandoren M30 mouthpiece.
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Author: nata
Date: 2015-02-04 04:55
There is a clarinet professor at a university here.... I am not associated with him, and have not even met him personally.
Do you think I should email him and ask him if he knows the "insider information" on a R13? Or that would be too rude and undiplomatic?
Do you all know anybody in South Carolina that might help find a used R13?
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Author: avins
Date: 2015-05-04 13:21
Hi Natta
I've been playing on legers Signature on 31/4 and mainly on 31/2 on my R13 and m30 , with VD Optimum I like to try out form time to time other cane reeds which i used in the past but put them back in the box quite immediately , as I much prefer the Legers , which I love very much , they are not opnly consistant but also have beautiful "clean" deep tone and articulation , However I always like to try other possibilities and hope to try out forreston , soon '
the R13 is a great horn but I hope to try out one of the Yamahas SEV and CSG3 Yamahas as well as soon
All the best
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Author: William
Date: 2015-05-04 20:13
I have tried all models of Legere without much success. My synthetic reed of choice has been Forestone for many years on all of my clarinets and saxophones because they deliver a consistent quality throughout the entire range--especially high--and they are hassle free--no break in nor balancing required. Their tone quality is, imho, far superior to Legere and they articulate extremely well. I am currently auditioning some of the new Black Bamboo models of Forestone which are playing very well on both my Grabner K11* and vintage Chicago Kaspar #14 mouthpieces. In fact, I am performing Weber's "Fantasia and Rondo" this coming Thurs eve with a local wind ensemble and I will be using a Forestone Black Bamboo reed. And next week, I will be playing Williams "Viktors Tale" with another local band for which I will be using an older Forestone. Bottom line: I've tried the Legere's but prefer the Forestones. Cane......never, ever again.
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Author: TomS
Date: 2015-05-04 23:10
The Classic Cut Legere seem to be the easiest to find a suitable MP match. The Signatures are a bit fussy and don't work well on my favorite MP, the M13 (non lyre). I like the Signatures on the Reserve X0 and X5, the Hite Premier and the Fobes Debut. Something funny about them on some MPs ... I think they like facings that are close, long and flat (free blowing).
The Legere Signatures, IMHO are stronger then the same marked strength as the Legere Classic or either blue box or V12 Vandorens. I'd say 1/4 strength harder than the Legere Classic Cut, 1/2 strength more than the blue box, and 3/4 strength more than the V12s. A Vandoren V12 3.5+ seems to have the resistance of a #3 Legere Signature.
The Legere Signatures warm up faster, seem more stable and articulate with an uncanny crispness. They have more center to the tone than the Classic Cut (especially in lower register) but are brighter and sometimes brittle.
The Quebec are darker and fuzzier ... but overall, a nice big sound.
I mostly use the Classic Cuts with my M13, sanded a little less than 1mm narrower ... and usually a #3.25, depending on ambient temperature and how much I feel like blowing.
I use Legere for the SOUND ... not so much for the consistency and stability.
Tom
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Author: Hank Lehrer
Date: 2015-05-13 00:07
I switched over to standard Legere' reeds for bass clarinet a few months ago. I use a Roger Garrett MO mouthpiece and a Vandoren MO Ligature. Before the change, I used LaVoz or VD 3-3.5 reeds but had to go much softer with the Legere'. In fact, I ended up at a #2 and have also sanded a #2.25 down a little bit. But the sound is very big and well focused thorough out the entire playing range.
On Bb soprano, I made the change to Legere' on my Yamaha CS Custom as well after my success on bass. Using a Rico Reserve X10 with a Bob Scott or Harrison ligature, a 3.25 was too stiff; so I went to a #3 and it is fine. Before, I used Rico Reserve or VD Traditional 3.5s.
I have played concerts on both instruments and my section-mates comment positively that I have a big as well as ringing sound. Attacks are crisp as well. However, I always have a couple of cane reeds ready to go for all rehearsals and gigs.
Experimenting with Legere' reeds on my alto and tenor sax is next. I have always profited from the advice given by William Fuller in WI and John Moses in NYC. These are two very experienced and knowledgeable sources that merit much consideration on this topic. Heed their advice.
Hank
Post Edited (2015-05-13 04:22)
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Author: sfalexi
Date: 2015-05-14 01:57
Funnily enough, our entire sax section is now converted to legere reeds. For ALL playing. We don't do much concert stuff, so it's mostly for their brass band, marching band, and jazz combo playing.
I just received a bunch of legere reeds that I ordered. I played them for about two years, then went back to cane. But with the amount of playing I'm doing lately, and amount of different environments, I'm sick and tired of fussing with cane.
BTW, our sax section is fantastic. Legere reeds are CERTAINLY not holding them back from performing at a high level.
Alexi
Retired, playing more sax than clarinet, but still playing clarinet and still loving it!
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Author: TomS
Date: 2015-05-14 15:53
You can't just "slap on" a Legere and make a judgement in 5 minutes ... they have to be warmed up and broken in first. In addition, you must pair a cut and strength with a particular MP. Some MPs just don't like them, at all, any cut or strength. But, I think once you find the magic combination for you, the rewards can be fantastic!
Again, I use Legere for the SOUND.
The M13 and M30-lyre are quite happy, IMHO with the Classic cut reeds, in a #3.25, or thereabouts.
I get re-amazed at the M30-lyre and it's wonderful response and sound each time I revert back to it, to match a particular venue or acoustics.
Since Legere adjusts the material density for each strength, and not the profile, sometime going to a stiffer reed (and using more support, rather than more bite) will really add some ping, power, and center. I've gradually been inching towards stronger reeds ... but my diaphragm muscles take the soreness instead of my lower lip. Just a matter of conditioning ...
Tom
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Author: sfalexi
Date: 2015-05-14 18:20
Maybe this thread isn't too far viewed anymore, but a question on the legeres.
Right now I'm testing and I agree with most everything said by Tom and JJM so far (need to be tested, depends on mouthpiece, stability, different cuts work differently based on setup, etc.)
I'm curious for the legere players here or anywhere. Is there a difference in how you hear yourself playing when playing a legere vs a cane reed? For example, playing around with a few legeres last night, I couldn't get a good sense on how it was blending due to the group I was being with playing unusually bad last night, but I sensed in my head (through the skull vibrations, mouthpiece, yada yada), that the reed was vibrating MUCH more than a can reed. Almost like it was too soft, but normally a soft reed I lose the stability of intonation or have difficulty with altissimo, but with the legere I sensed that extra vibration in lower notes and was still easily able to play extreme altissimo.
I'm wondering though, how it's translating out into an audience.
So...... to achieve a similar or same sound from an audience perspective, will it sound different to YOU as a player between a legere and a cane?
Alexi
Retired, playing more sax than clarinet, but still playing clarinet and still loving it!
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Author: TomS
Date: 2015-05-14 21:15
It seems like the vibrations are heavier with the Legere ... almost like the facing is more open or the reed has warped open ... always a bigger feel, broader blowing experience to me.
I have noticed that the Legere play a bit flatter in the highest register, the Signature cut being not quite as bad.
One of advantage of playing a little stronger reed is that the tuning is a bit higher in the altissimo than the other registers (I think). My Lyrique Libertas is not as sharp in the altissimo as many other brands/designs (maybe a little flat with some setups) ... a 1/4 strength harder brings that pitch "up to snuff".
Tom
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Author: fskelley
Date: 2015-05-15 02:05
I see most of you prefer Legere signature over their classic. Is this a case of you get what you pay for? (Is it more expensive to manufacture reeds with the desirable characteristics? Or is it just that the signatures are aimed at a smaller market so there's less economy of scale?)
I plan to order exactly one Forestone reed, and decide whether to continue down that road based on the result. What model and strength would be the best match for a well broken in and fine playing Vandoren traditional #2.5? There's their "regular" at $20 from MF, "premium cut" at $33, and I've heard of others ("black bamboo").
(I use blue box #3, but I always ATG adjust them much less resistant. I start with #3's because I find they end up less chirpy than #2.5's, at least that's my story this month, LOL.)
Stan in Orlando
EWI 4000S with modifications
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Author: Hank Lehrer
Date: 2015-05-15 18:08
Here is an interesting observation. With the Legere' reeds on my Bb Soprano and bass clarinet, there seems to be little if any change in the sound, responsiveness, or intonation with different ligatures.
In fact, I've gone back to standard inverted Bonades and been very happy. These ligatures hold the reed securely and are easy to get on and off the mouthpiece. I do have VD MOs and Harrisons for both instruments but the Bonade seems to be the right combo.
I wonder is this is about the "contribution" of the non-tip area of a cane reed and how the ligature influences that "vibration." It is difficult to express exactly what I have experienced here; however, something is going on with the vibrational end of the Legere' that is different from that of a cane reed and perhaps nothing vibrationally at the butt end.
While it might be interesting to see an analysis of different vibrational nodes (if there is such a thing) at various places on Legere' and cane reeds, I don't believe that this type research would yield any worthwhile empirical information.
BTW, the sound of the Legere' with the Bonade ligatures is really amazing.
Post Edited (2015-05-16 06:16)
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